Sentences with phrase «long static shots»

Pakula's compositions are even painterly in their appearance, where certain long static shots showcase hardly mobile characters surrounded by vast negative space.

Somewhere is a movie that requires patience to watch and surely required patience to make.The film opens with a two - minute - long static shot of a sportscar circling a dusty racetrack.

Like Eldorado XXI by Salomé Lamas, which promises breathtaking panoramic visuals and an hour - long static shot (who doesn't love those?)

Not exact matches

«A major factor in choosing this image as the winner is that it manages a seemly impossible task: to visualise an immensely long - term ecological process in a single static shot.

Is it a combination of length and deliberate pace, or a favoring of long, static shots vs. montage and whip pans?

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Like Lanthimos, Warmerdam tempers the inherently twisted narrative with a flat, static visual style of medium and long shots, long takes, natural lighting, and minimal camera movement.

At times it's shot like theater: long, static, dialogue - heavy shots with characters moving on and off screen.

While the format works for the most part, when Parker cuts to a standard shot, perhaps something static, from a longer and more mobile take, it can be a bit jarring.

Visually, The Florida Project owes much of its approach to cinematography to Wes Anderson — the colors recall The Grand Budapest Hotel, and the numerous long shots where the camera holds still, placing the children as small specks moving across a static background from a frontal viewpoint, are very Anderson-esque.

The camera generally remains static, with only the occasional, delicate pan to break up its long takes and shot / reverse shot patterns.

The Tribe is a magnificent example of long - take cinema, sometimes using static shots, sometimes using a Steadicam to follow characters through the labyrinthine school corridors, or into an extremely elaborate group setup.

A Ghost Story unfolds in long, static shots, most of them without faces to hang onto.

Too many songs are shot in long, single - shot close - ups of the actor singing; the intent may have been to further showcase the performance (and to keep the actors from running out of breath — witness Redmayne's dodgy vocal performance while forced to walk and sing during «In My Life»), but in practice it makes the movie visually static when everything about it is constantly moving.

Haneke either depicts Erika's torment with distant, static takes or sequence shots, an approach that embraces sensationalism, as when cinematographer Christian Berger captures Erika vomiting in close - up at the end of a long take.

At the Winter Olympics, we're used to seeing these static shots with a long lens, and it looks graceful and beautiful.

The Filipino writer - director Lav Diaz is the definition of a «not for every taste» filmmaker: His movies are stark, long (like, four - plus hours long), and patience - testing, filmed mostly on black - and - white digital video in static master shots.

Oldroyd films the impassive Katherine and terrified Anna's subsequent silent meal in a long, static shot that's as chillingly detached as Katherine herself, soundtracked only by the old man's agonized offscreen death throes.

With a colossal running time of 485 minutes (nothing Lav Diaz fans will be too surprised about), A Lullaby To The Sorrowful Mystery is made of static shots of various characters lamenting, musing, longing, confessing, discussing, sharing, divulging, singing, listening, and crying over the intolerable cruelty suffered by the Filippino people under an oppressive Spanish rule.

The formal qualities of the film are forefronted: Dean uses a limited palette, a slow and steady pace, a static camera position, and very long shots.

The recently completed TRAVELOGUE: CAIRO EGYPT crosses long takes and static shots captured via smartphone in a four - part composition exploring surveillance, chance composition, tourism, and politics.

Editing to the narrative of time, Dean frequently employs long takes and static camera shots, focusing on recording mood and atmosphere in her cinematic work.